To reach the pinnacle of outer space realism on the big screen these days, a lot rests on the film’s technical capabilities. From the stunning cinematography in 2013’s “Gravity,” the jaw-dropping special effects of 2014’s “Interstellar” or the impressive production design in 2015’s “The Martian,” moviegoers want to be transported from their theater seats to the farthest corners of the galaxy as effortlessly as possible.

Luckily, “First Man,” the biopic on NASA astronaut Neil Armstrong (Ryan Gosling), who became the first man to ever step foot on the surface of the moon in 1969, is a commendable technical achievement. In the film, the anxiousness felt in the interiors of the aircraft or spaceflight simulator is pushed to the brink of chaos with handheld camerawork. It creates a dizzying sense of dread in the most intense and confined scenes.

Leading up to the successful Apollo 11 launch, “First Man” follows Armstrong as he prepares for whatever space mission he is assigned to next. Not only is it a journey of determination and strength, it’s also an exploration by Oscar-winning screenwriter Josh Singer (“Spotlight”) of the immeasurable losses that Armstrong experienced. This includes the passing of his two-year-old daughter in 1962 and the deaths of fellow space travelers (the three-man crew of Apollo 1 were killed in a fire during a spacecraft test in 1967).

Directed by Damien Chazelle (“La La Land”), the first project of his young career that he didn’t actually write himself, the Oscar-winning filmmaker is at the top of his game as he takes viewers deep into the inner-workings of the space program, which at the time was beaten at every turn by the Soviets. Along with the radiant photography by Oscar-winning cinematographer Linus Sandgren (“La La Land”) and the vintage visual style of Oscar-nominated production designer Nathan Crowley (“Dunkirk”), it is Chazelle’s work behind the camera that will make the narrative resonate with audiences.

Like recent space films “Gravity” and “Moon,” “First Man” relies on intimate and uncomplicated storytelling. On occasion, Singer’s story feels as if it is taking place inside a silo and only breaks from those confines when we get an idea of how people outside of NASA are observing the historic events (Apollo 13 was more effective in this respect). Gosling, maybe in an attempt to balance actress Claire Foy as outspoken first wife Janet, portrays Armstrong with understated confidence. The dynamic works for the most part, although Gosling isn’t given much external range.

Still, like the best cinematic space odysseys that have come before, “First Man” brings with it a message of humanism and mortality that puts life into perspective. What better backdrop to experience an existential awakening than soaring across the cosmos?

This week on The CineSnob Podcast, Cody and Jerrod review the spy thriller “Red Sparrow,” talk “I, Tonya” on Blu-ray, break down the 90th annual Academy Awards, and recap their visit to the San Antonio Symphony’s performance of “La La Land” live.

Taking his love for jazz music, director/writer Chazelle breathes new life into the old Hollywood musical genre much like 2011’s The Artist did for silent cinema. At the center of this charmer are an aspiring actress (Emma Stone) and a frustrated jazz pianist (Ryan Gosling), both of whom would like to find more success in their respected creative fields. Together, Stone and Gosling light up every scene they share and director and Oscar-nominated screenwriter Damien Chazelle give the duo such a vibrant atmosphere to play on. We’re not talking Fred Astaire/Ginger Rogers-level dance sequences, but the overall appeal is delightful. Driven by an exhilarating score and a handful of magical moments, “La La Land” is an adorable, choreographed-to-a-fault work of art.

Back in 2007, a trailer was attached to the first “Transformers” movie that caught the attention and curiosity of moviegoers everywhere. It featured a party filmed handheld style that was violently interrupted with giant explosions and terror. It ended with the head of the statue of liberty rolling down a New York street. It also ended with no title card, and only a release date for when it would come to theaters. It became one of the top searched trends on the internet and eventually, more details would come to light on the JJ Abrams-produced “Cloverfield,” an inventive found-footage monster movie that helped kickstart a style that has, for better or worse, become a major trend in Hollywood.

Abrams, being a lover of all things mysterious, pulled another trick when another Michael Bay movie (“13 Hours”) had a mysterious trailer attached to it. This time, it had a title: “10 Cloverfield Lane.” Absent from anyone’s radar, the movie was set to come out in mere months. With few plot details known, the time has finally come to see if first, the movie has anything to do with its name sake and second, if its any good.

After being involved in a car crash, Michelle (Mary Elizabeth Winstead) wakes up chained in an underground bunker. Brought back by doomsday prepper Howard (John Goodman), she is told that the air is contaminated and nobody above is alive. As she becomes closer to another person in the bunker, Emmett (John Gallagher Jr.), they begin to realize that Howard may be more dangerous and crazy than they think. As they band together to try to find a way out, Howard does whatever necessary to keep them there.

The biggest draw to “10 Cloverfield Lane” is the performance of Goodman. It’s a little hammy and on the nose at times, but it’s still an unsettling and weird performance. Winstead is good for her part, getting to show some physical prowess as well as acting chops. The screenplay, however, does not allow for any meaty character moments to happen. We find Winstead’s Michelle on the run, but we don’t know and never find out why. We see Howard has a checkered family past but we don’t know and never find out why.

In fact, as the proceedings move along, it becomes abundantly clear that direct Dan Trachtenberg and company have no intention of answering any of the questions that they posed. Beyond the narrative, it becomes really difficult for any character study to be done when the audience is only aware of very surface level things. The film flirts with taking its most interesting character in Howard and shedding some light on his truth. It pulls the rug, however, and nothing becomes resolved. The result feels like a complete bait and switch, and perhaps worse, the creation of tension only for the sake of tone and not serving any narrative purpose.

That doesn’t mean the film is totally devoid of tension. There’s actually a lot of intense scenes of near escape or trying to figure out one another. It’s almost a prolonged chess game, only, at times, slow moving and filled with annoying red herrings. Without divulging spoilers, the plot takes a twist in its final act that is completely inexplicable. It feels pasted on, as if we are watching the beginning of an entirely new movie. It’s a shame that instead of exploring characters further and adding nuance to the story, the film decides to go in an even bigger “wtf” direction than what we have seen so far.

Fans of “Cloverfield” may find themselves let down that “10 Cloverfield Lane” has virtually nothing to do with the 2008 film. But after you crack through the potential disappointment of expectations vs. reality, “10 Cloverfield Lane” boils down to a lot of manufactured mood, repetitive MacGyver’ing from Winstead’s character, and an unsatisfying narrative.

Winner of the Grand Jury Prize at this year’s Sundance Film Festival (recent past winners include “Fruitvale Station” and “Beasts of the Southern Wild”), “Whiplash” is a compelling and oftentimes jolting drama anchored by two intense performances by Miles Teller (“The Spectacular Now”) and J.K. Simmons (“Juno”), the latter of whom should easily garner the first Oscar nomination of his solid 20-year career.

In “Whiplash,” Teller stars as Andrew Neyman, a highly talented albeit raw jazz drummer attending a prestigious music school in hopes of becoming one of the greatest percussionists to ever live. His real education begins when he is handpicked by ruthless instructor Terence Fletcher (Simmons) as the backup drummer of the top orchestra in the entire conservatory. If Andrew wants to be the best, he’s going to have to play with the best. For Fletcher, getting someone to that level means ripping that talent out of his students without remorse, which includes emotional and physical abuse on a daily basis. Is Andrew willing to suffer through Fletcher’s constant attacks to reach the level of musicianship he wants, or will the brutality of his instructor break him?

While the idea that such a insulting music instructor would be allowed to teach at a college without anyone making a formal complaint to someone over the years is fairly unbelievable, the characterization, while sometimes a tad overboard, is a fantastic turn by Simmons especially during those scenes when he becomes a monster in the studio. Whether he’s tossing a chair across the room or kicking a student out of his band because said student doesn’t know if he’s playing out of tune, Simmons makes anger an art form. It is not a one-note performance, however. He also manages to show a human side, which is quickly forgotten once he snaps again.

Matching his performance is Teller, whose creates an inspired character driven by total ambition. His evolution throughout the film is at times brilliant as we watch Andrew go from a naïve kid to someone willing to fight for what he’s sacrificed everything for, including a relationship with a new girlfriend that is not nearly explored well enough to matter. When they share the screen, Teller and Simmons become a pair of opposing characters moviegoers won’t be able to shift their eyes from.

“Whiplash” might be named after a jazz standard by American composer Hank Levy, but it also describes the way in which Andrew is treated in the cutthroat nature of his unique music education experience. Whether or not he survives on any level is left up to the audience, but the journey to get to that moment where he puts everything on the line isn’t something you will soon forget.